Deathspell Omega “Fas – Ite, Maledicti, In Ignem Aeternvm” (2007)

This album has been in my possession for a mere week, and I am the first to admit that this review is premature. A complexity like this need months of digestion before realization of it’s immensity is complete. But I must write this.

This is the second part of Deathspell Omega’s unspeakable trinity, beginning in 2004 with masterpiece Si Monumentum Requires, Circumspice, followed by appendices Kénôse, “Mass Grave Aesthetics” and “Diabolus Absconditus” (the latter two songs from split releases). Roughly translated (my Latin skills are puerile and laughable at best), the title means “The Divine Order – Thus Cursed, in Eternal Flames/Forever Burning”. The chaos of the forerunners is here taken to a new level of extremity unheard; the sulphuric violence is breathtaking. These French diabolists have opened a gate, and through it came a satanic Beast screaming and throbbing, in spite and fury spastically clawing and tearing at the light. Then, as it’s abysmal seizures have ended, a calm besetts your mind, letting you breath and contemplate upon the aural rape you just suffered. Deep in the ambient silence, a choir and it’s orchestra is silently incinerated… listen closely, and hear the beast breath… It awakens, dances with you, mid-pacing through disharmonic ballrooms in the deepest circles of Hell, in disjointed improvisations… Only to plunge back into rabiate madness, raping you over and over again, tearing your flesh and soul into shreds and dust.

Fas tells of how mankind is doomed to Perdition and Damnation from the beginning, and it is much more personal and poetic than it’s disputational precursors. Mikko Aspa’s sore growls sound older and harsher than before, and yes, the Lord of all Perdition and Madness is truly speaking through him, as He is working through the always so obscure musicians. They are truly possessed, and “evil” satanists like Watain are but a candle in sunshine to these orthodox theologists. The music, in it’s compositional trinity, is more complex than ever, tonally and rhythmically closer to Alfred Schnittke, Ved Buens Ende and Gorguts than Darkthrone. In this flurry of blastbeats, orchestral samples and disruptive dissonances there is a profound darkness I cannot describe. It must not only be heard, but felt and realized. This is more than metal, whatever prefix you choose. This is art.

Note: The official translation of ‘Fas: Ite, …’ is “By divine law, go, you cursed, into the eternal fire!”. I wasn’t that far off. (aV., 2007-09-17)